The Immortals
With Adolfo Bioy-Casares
(1966)
And see, no longer blinded by our eyes.
Rupert Brooke
Whoever could have foreseen, way back in that innocent summer of 1923, that the novelette The Chosen One by Camilo N. Huergo, presented to me by the author with his personal inscription on the flyleaf (which I had the decorum to tear out before offering the volume for sale to successive men of the book trade), hid under the thin varnish of fiction a prophetic truth. Huergo’s photograph, in an oval frame, adorns the cover. Each time I look at it, I have the impression that the snapshot is about to cough, a victim of that lung disease which nipped in the bud a promising career. Tuberculosis, in short, denied him the happiness of acknowledging the letter I wrote him in one of my characteristic outbursts of generosity.
The epigraph prefixed to this thoughtful essay has been taken from the aforementioned novelette; I requested Dr. Montenegro, of the Academy, to render it into Spanish, but the results were negative. To give the unprepared reader the gist of the matter, I shall now sketch, in condensed form, an outline of Huergo’s narrative, as follows:
The storyteller pays a visit, far to the south in Chubut, to the English rancher don Guillermo Blake, who devotes his energies not only to the breeding of sheep but also to the ramblings of the world-famous Plato and to the latest and more freakish experiments in the field of surgical medicine. On the basis of his reading, don Guillermo concludes that the five senses obstruct or deform the apprehension of reality and that, could we free ourselves of them, we would see the world as it is—endless and timeless. He comes to think that the eternal models of things lie in the depths of the soul and that the organs of perception with which the Creator has endowed us are, grosso modo, hindrances. They are no better than dark spectacles that blind us to what exists outside, diverting our attention at the same time from the splendor we carry within us.
Blake begets a son by one of the farm girls so that the boy may one day become acquainted with reality. To anesthetize him for life, to make him blind and deaf and dumb, to emancipate him from the senses of smell and taste, were the father’s first concerns. He took, in the same way, all possible measures to make the chosen one unaware of his own body. As to the rest, this was arranged with contrivances designed to take over respiration, circulation, nourishment, digestion, and elimination. It was a pity that the boy, fully liberated, was cut off from all human contact.
Owing to the press of practical matters, the narrator goes away. After ten years, he returns. Don Guillermo has died; his son goes on living after his fashion, with natural breathing, heart regular, in a dusty shack cluttered with mechanical devices. The narrator, about to leave for good, drops a cigarette butt that sets fire to the shack and he never quite knows whether this act was done on purpose or by pure chance. So ends Huergo’s story, strange enough for its time but now, of course, more than outstripped by the rockets and astronauts of our men of science.
Having dashed off this disinterested compendium of the tale of a now dead and forgotten author—from whom I have nothing to gain—I steer back to the heart of the matter. Memory restores to me a Saturday morning in 1964 when I had an appointment with the eminent gerontologist Dr. Raúl Narbondo. The sad truth is that we young bloods of yesteryear are getting on; the thick mop begins to thin, one or another ear stops up, the wrinkles collect grime, molars grow hollow, a cough takes root, the backbone hunches up, the foot trips on a pebble, and, to put it plainly, the paterfamilias falters and withers. There was no doubt about it, the moment had come to see Dr. Narbondo for a general checkup, particularly considering the fact that he specialized in the replacement of malfunctioning organs.
Sick at heart because that afternoon the Palermo Juniors and the Spanish Sports were playing a return match and maybe I could not occupy my place in the front row to bolster my team, I betook myself to the clinic on Corrientes Avenue near Pasteur. The clinic, as its fame betrays, occupies the fifteenth floor of the Adamant Building. I went up by elevator (manufactured by the Electra Company). Eye to eye with Narbondo’s brass shingle, I pressed the bell, and at long last, taking my courage in both hands, I slipped through the partly open door and entered into the waiting room proper. There, alone with the latest issues of the Ladies’ Companion and Jumbo, I whiled away the passing hours until a cuckoo clock struck twelve and sent me leaping from my armchair. At once, I asked myself, What happened? Planning my every move now like a sleuth, I took a step or two toward the next room, peeped in, ready, admittedly, to fly the coop at the slightest sound. From the streets far below came the noise of horns and traffic, the cry of a newspaper hawker, the squeal of brakes sparing some pedestrian, but, all around me, a reign of silence. I crossed a kind of laboratory, or pharmaceutical back room, furnished with instruments and flasks of all sorts. Stimulated by the aim of reaching the men’s room, I pushed open a door at the far end of the lab.
Inside, I saw something that my eyes did not understand.
The small enclosure was circular, painted white, with a low ceiling and neon lighting, and without a single window to relieve the sense of claustrophobia. The room was inhabited by four personages, or pieces of furniture. Their color was the same as the walls, their material wood, their form cubic. On each cube was another small cube with a latticed opening and below it a slot as in a mailbox. Carefully scrutinizing the grilled opening, you noted with alarm that from the interior you were being watched by something like eyes. The slots emitted, from time to time, a chorus of sighs or whisperings that the good Lord himself could not have made head or tail of. The placement of these cubes was such that they faced each other in the form of a square, composing a kind of conclave. I don’t know how many minutes lapsed. At this point, the doctor came in and said to me, “My pardon, Bustos, for having kept you waiting. I was just out getting myself an advance ticket for today’s match between the Palermo Juniors and the Spanish Sports.” He went on, indicating the cubes, “Let me introduce you to Santiago Silberman, to retired clerk-of-court Ludueña, to Aquiles Molinari, and to Miss Bugard.”
Out of the furniture came faint rumbling sounds. I quickly reached out a hand and, without the pleasure of shaking theirs, withdrew in good order, a frozen smile on my lips. Reaching the vestibule as best I could, I managed to stammer, “A drink. A stiff drink.”
Narbondo came out of the lab with a graduated beaker filled with water and dissolved some effervescent drops into it. Blessed concoction—the wretched taste brought me to my senses. Then, the door to the small room closed and locked tight, came the explanation:
‘I’m glad to see, my dear Bustos, that my immortals have made quite an impact on you. Whoever would have thought that Homo sapiens, Darwin’s barely human ape, could achieve such perfection? This, my house, I assure you, is the only one in all Indo-America where Dr. Eric Stapledon’s methodology has been fully applied. You recall, no doubt, the consternation that the death of the late lamented doctor, which took place in New Zealand, occasioned in scientific circles. I flatter myself, furthermore, for having implemented his precursory labors with a few Argentinean touches. In itself, the thesis—Newton’s apple all over again—is fairly simple. The death of the body is a result, always, of the failure of some organ or other, call it the kidney, lungs, heart, or what you like. With the replacement of the organism’s various components, in themselves perishable, with other corresponding stainless or polyethylene parts, there is no earthly reason whatever why the soul, why you yourself—Bustos Domecq—should not be immortal. None of your philosophical niceties here; the body can be vulcanized and from time to time recaulked, and so the mind keeps going. Surgery brings immortality to mankind. Life’s essential aim has been attained—the mind lives on without fear of cessation. Each of our immortals is comforted by the certainty, backed by our firm’s guarantee, of being a witness in aeternum. The brain, refreshed night and day by a system of electrical charges, is the last organic bulwark in which ball beari
ngs and cells collaborate. The rest is Formica, steel, plastics. Respiration, alimentation, generation, mobility—elimination itself!—belong to the past. Our immortal is real estate. One or two minor touches are still missing, it’s true. Oral articulation, dialogue, may still be improved. As for the cost, you need not worry yourself. By means of a procedure that circumvents legal red tape, the candidate transfers his property to us, and the Narbondo Company, Inc.—I, my son, his descendants—guarantees your upkeep, in statu quo, to the end of time. And, I might add, a money-back guarantee.”
It was then that he laid a friendly hand on my shoulder. I felt his will taking power over me. “Ha-ha! I see I’ve whetted your appetite, I’ve tempted you, dear Bustos. You’ll need a couple of months or so to get your affairs in order and to have your stock portfolio signed over to us. As far as the operation goes, naturally, as a friend, I want to save you a little something. Instead of our usual fee of ten thousand dollars, for you, ninety-five hundred—in cash, of course. The rest is yours. It goes to pay your lodging, care, and service. The medical procedure in itself is painless. No more than a question of amputation and replacement. Nothing to worry about. On the eve, just keep yourself calm, untroubled. Avoid heavy meals, tobacco, and alcohol, apart from your accustomed and imported, I hope, Scotch or two. Above all, refrain from impatience.”
“Why two months?” I asked him. “One’s enough, and then some. I come out of the anesthesia and I’m one more of your cubes. You have my address and phone number. We’ll keep in touch. I’ll be back next Friday at the latest.”
At the escape hatch he handed me the card of Nemirovski, Nemirovski, & Nemirovski, Counsellors at Law, who would put themselves at my disposal for all the details of drawing up the will. With perfect composure I walked to the subway entrance, then took the stairs at a run. I lost no time. That same night, without leaving the slightest trace behind, I moved to the New Impartial, in whose register I figure under the assumed name of Aquiles Silberman. Here, in my bedroom at the far rear of this modest hotel, wearing a false beard and dark spectacles, I am setting down this account of the facts.
The Meeting
To Susana Bombal
(1969)
Anyone leafing his way through the morning paper does so either to escape his surroundings or to provide himself with small talk for later in the day, so it is not to be wondered at that no one any longer remembers—or else remembers as in a dream—the famous and once widely discussed case of Maneco Uriarte and of Duncan. The event took place, furthermore, back around 1910, the year of the comet and the Centennial, and since then we have had and have lost so many things. Both protagonists are now dead; those who witnessed the episode solemnly swore silence. I, too, raised my hand for the oath, feeling the importance of the ritual with all the romantic seriousness of my nine or ten years. I do not know whether the others noticed that I had given my word; I do not know whether they kept theirs. Anyway, here is the story, with all the inevitable variations brought about by time and by good or bad writing. My cousin Lafinur took me to a barbecue that evening at a country house called The Laurels, which belonged to some friends of his. I cannot fix its exact location; let us take any of those suburban towns lying just to the north, shaded and quiet, that slope down to the river and that have nothing in common with sprawling Buenos Aires and its surrounding prairie. The journey by train lasted long enough to seem endless to me, but time for children—as is well known—flows slowly. It was already dark when we passed through the villa’s main gate. Here, I felt, were all the ancient, elemental things: the smell of meat cooking golden brown, the trees, the dogs, the kindling wood, and the fire that brings men together.
The guests numbered about a dozen; all were grown-ups. The eldest, I learned later, was not yet thirty. They were also—this I was soon to find out—well versed in matters about which I am still somewhat backward: race horses, the right tailors, motorcars, and notoriously expensive women. No one ruffled my shyness, no one paid any attention to me. The lamb, slowly and skillfully prepared by one of the hired men, kept us a long time in the big dining room. The dates of vintages were argued back and forth. There was a guitar; my cousin, if I remember correctly, sang a couple of Elías Regules’ ballads about gauchos in the back country of Uruguay and some verses in dialect, in the incipient lunfardo of those days, about a knife fight in a brothel on Junín Street. Coffee and Havana cigars were brought in. Not a word about getting back. I felt (in the words of the poet Lugones) the fear of what is suddenly too late. I dared not look at the clock. In order to disguise my boyish loneliness among grown-ups, I put away—not really liking it—a glass or two of wine. Uriarte, in a loud voice, proposed to Duncan a two-handed game of poker. Someone objected that that kind of play made for a poor game and suggested a hand of four. Duncan agreed, but Uriarte, with a stubbornness that I did not understand and that I did not try to understand, insisted on the first scheme. Outside of truco—a game whose real aim is to pass time with mischief and verses—and of the modest mazes of solitaire, I never enjoyed cards. I slipped away without anyone’s noticing. A rambling old house, unfamiliar and dark (only in the dining room was there light), means more to a boy than a new country means to a traveler. Step by step, I explored the rooms; I recall a billiard room, a long gallery with rectangular and diamond-shaped panes, a couple of rocking chairs, and a window from which you could just make out a summerhouse. In the darkness I lost my way; the owner of the house, whose name, as I recall after all these years, may have been Acevedo or Acebal, finally came across me somehow. Out of kindness or perhaps out of a collector’s vanity, he led me to a display cabinet. On lighting a lamp, I saw the glint of steel. It was a collection of knives that had once been in the hands of famous fighters. He told me that he had a bit of land somewhere to the north around Pergamino, and that he had been picking up these things on his travels back and forth across the province. He opened the cabinet and, without looking at what was written on the tags, he began giving me accounts of each item; they were more or less the same except for dates and place names. I asked him whether among the weapons he might have the dagger of Juan Moreira, who was in that day the archetype of the gaucho, as later Martín Fierro and Don Segundo Sombra would be. He had to confess that he hadn’t but that he could show me one like it, with a U-shaped crosspiece in the hilt. He was interrupted by the sound of angry voices. At once he shut the cabinet and turned to leave; I followed him.
Uriarte was shouting that his opponent had tried to cheat him. All the others stood around the two players. Duncan, I remember, was a taller man than the rest of the company, and was well built, though somewhat round-shouldered; his face was expressionless, and his hair was so light it was almost white. Maneco Uriarte was nervous, dark, with perhaps a touch of Indian blood, and wore a skimpy, petulant moustache. It was obvious that everybody was drunk; I do not know whether there were two or three emptied bottles on the floor or whether an excess of movies suggests this false memory to me. Uriarte’s insults did not let up; at first sharp, they now grew obscene. Duncan appeared not to hear, but finally, as though weary, he got up and threw a punch. From the floor, Uriarte snarled that he was not going to take this outrage, and he challenged Duncan to fight.
Duncan said no, and added, as though to explain, “The trouble is I’m afraid of you.” Everybody howled with laughter.
Uriarte, picking himself up, answered, “I’m going to have it out with you, and right now.”
Someone—may he be forgiven for it—remarked that weapons were not lacking.
I do not know who went and opened the glass cabinet.
Maneco Uriarte picked out the showiest and longest dagger, the one with the U-shaped crosspiece; Duncan, almost absentmindedly, picked a wooden-handled knife with the stamp of a tiny tree on the blade. Someone else said it was just like Maneco to play it safe, to choose a sword. It astonished no one that his hand began shaking; what was astonishing is that the same thing happened with Duncan.
Tradition dem
ands that men about to fight should respect the house in which they are guests, and step outside. Half on a spree, half seriously, we all went out into the damp night. I was not drunk—at least, not on wine—but I was reeling with adventure; I wished very hard that someone would be killed, so that later I could tell about it and always remember it. Maybe at that moment the others were no more adult than I was, I also had the feeling that an overpowering current was dragging us on and would drown us. Nobody believed the least bit in Maneco’s accusation; everyone saw it as the fruit of an old rivalry, exacerbated by the wine.
We pushed our way through a clump of trees, leaving behind the summerhouse. Uriarte and Duncan led the way, wary of each other. The rest of us strung ourselves out around the edge of an opening of lawn. Duncan had stopped there in the moonlight and said, with mild authority, “This looks like the right place.”
The two men stood in the center, not quite knowing what to do. A voice rang out: “Let go of all that hardware and use your hands!”
But the men were already fighting. They began clumsily, almost as if they were afraid of hurting each other; they began by watching the blades, but later their eyes were on one another. Uriarte had laid aside his anger, Duncan his contempt or aloofness. Danger, in some way, had transfigured them; these were now two men fighting, not boys. I had imagined the fight as a chaos of steel; instead, I was able to follow it, or almost follow it, as though it were a game of chess. The intervening years may, of course, have exaggerated or blurred what I saw. I do not know how long it lasted; there are events that fall outside the common measure of time.
Short Stories of Jorge Luis Borges - The Giovanni Translations Page 11
